Table Of ContentFederigo Fiorillo
36 Studies or Caprices for the Violin
Sheet Music
Fourth edition, stereotyped
Федериго Фиорилло
36 этюдов или каприсов для скрипки
Ноты
Издание четвертое, стереотипное
УДК 787.1.087.1 6+
ББК 85.955.4
Ф 61 Fiorillo F. 36 Studies or Caprices for the Violin : sheet music / F. Fiorillo. – 4th
edition, stereotyped. – Saint Petersburg : Lan : The Planet of Music, 2020. – 68 pages. – (Uni-
versity textbooks. Books on specialized subjects). – Text : direct.
Federigo Fiorillo (1755–1823) was an Italian composer, mandolinist, violinist.
The collection of 36 studies (or caprices) for violin is a valuable manual for the performer.
Studies cover the main types of both hands techniques: they train finger velocity, change of a position,
double notes, arpeggios, etc., Fiorillo shows a rich imagination in the choice of strokes and their com-
binations. This redaction of studies is done by the outstanding Russian violinist and teacher Leopold
Auer.
The collection is addressed to violinists, teachers and students of music schools.
Ф 61 Фиорилло Ф. 36 этюдов или каприсов для скрипки : ноты / Ф. Фиорилло. – 4-е
изд., стер. – Санкт-Петербург : Лань : Планета музыки, 2020. – 68 с. – (Учебники для
вузов. Специальная литература). – Текст : непосредственный.
ISBN 978-5-8114-5120-3 (Издательство «Лань»)
ISBN 978-5-4495-0539-2 (Издательство «ПЛАНЕТА МУЗЫКИ»)
ISMN 979-0-66005-267-9 (Издательство «ПЛАНЕТА МУЗЫКИ»)
Федериго Фиорилло (1755–1823) – итальянский композитор, мандолинист, скрипач.
Сборник из 36 этюдов (или каприсов) для скрипки являются ценным пособием для исполнителя.
Этюды охватывают основные виды техники обеих рук: тренируют беглость пальцев,
смену позиции, двойные ноты, арпеджио и т.д., Фиорилло проявляет богатую фантазию в
выборе штрихов и их сочетаний. Настоящая редакция этюдов принадлежит выдающемуся
русскому скрипачу и педагогу Леопольду Ауэру.
Сборник адресован скрипачам, педагогам и студентам музыкальных учебных заведений.
ББК 85.955.4
Обложка © Издательство «ПЛАНЕТА МУЗЫКИ», 2020
А. Ю. Лапшин © С.В.Стройкин (перевод, вступительная статья), 2020
© Издательство «ПЛАНЕТА МУЗЫКИ»,
художественное оформление, 2020
FFFFOOOORRRREEEEWWWWOOOORRRRDDDD ÏÏÏÏÐÐÐÐÅÅÅÅÄÄÄÄÈÈÈÈÑÑÑÑËËËËÎÎÎÎÂÂÂÂÈÈÈÈÅÅÅÅ
The name of the Italian musi- Èìÿ èòàëüÿíñêîãî ìóçûêàíòà
cian Federigo Fiorillo is known mainly Ôåäåðèãî Ôèîðèëëî èçâåñòíî, ãëàâ-
íûì îáðàçîì, ñêðèïà÷àì, áëàãîäàðÿ
to violinists, thanks to his 36 studies
åãî 36 ñêðèïè÷íûì ýòþäàì, èíà÷å êà-
(or caprices) for violin.
ïðèñàì.
Federigo Fiorillo came from a Ôåäåðèãî Ôèîðèëëî ïðîèñõî-
family of Italian musicians. His ances- äèë èç ñåìüè èòàëüÿíñêèõ ìóçûêàí-
tor Carlo Fiorillo (1590/95 - 1616) was òîâ. Åãî ïðåäîê Êàðëî Ôèîðèëëî
(1590/95 1 1616) 1 êîìïîçèòîð ðîäîì
a composer from Naples and the au-
èç Íåàïîëÿ è àâòîð êíèãè ìàäðèãà-
thor of a madrigal book published in
ëîâ, îïóáëèêîâàííîé â Ðèìå â 1616
Rome in 1616. Federigo's father was
ãîäó. Îòöîì Ôåäåðèãî áûë êîìïîçè-
the composer Ignazio Fiorillo (1715 - òîð Èãíàöèî Ôèîðèëëî (1715 1 1787),
1787), who was recognized thanks to ÷üå òâîð÷åñòâî ïîëó÷èëî ïðèçíàíèå
his operas. The biography of the musi- áëàãîäàðÿ åãî îïåðàì. Áèîãðàôèÿ ìó-
çûêàíòà òåñíî ñâÿçàíà ñ äåÿòåëüíî-
cian is closely connected with the ac-
ñòüþ èòàëüÿíñêîãî òåàòðà «Îïåðíàÿ
tivities of the Italian theater "Opera
ïàíòîìèìà» ïîä ðóêîâîäñòâîì Ôè-
Pantomime" under the direction of
ëèïïî Íèêîëèíè: ñ åãî òðóïïîé Èã-
Filippo Nicolini: with his troupe, Ig- íàöèî ñîâåðøèë íåñêîëüêî òóðíå ïî
nazio made several tours around Eu- Åâðîïå (1745 1 1754). Ïåðó êîìïîçè-
rope (1745 - 1754). Composer wrote 31 òîðà ïðèíàäëåæèò 31 îïåðà, áîëüøàÿ
èõ ÷àñòü ñîçäàíà íà ëèáðåòòî ïðîñëàâ-
operas, most of them created on the
ëåííîãî èòàëüÿíñêîãî äðàìàòóðãà 1
libretto of the famous Italian play-
Ïüåòðî Ìåòàñòàçèî. Íàèáîëåå èçâåñò-
wright - Pietro Metastasio. The most
íûå èç íèõ «Èçîáðàæàÿ çàâîåâàòå-
famous of them are "Representing the
ëåé» (1741) è «Àäðèàí â Ñèðèè»
conquerors" (1741) and "Adrian in
(1750).
Syria" (1750).
Ñàì Ôåäåðèãî Ôèîðèëëî ðî-
Federigo Fiorillo was born in äèëñÿ â 1755 ãîäó â ñåâåðíîé Ãåðìà-
1755 in northern Germany, which is íèè, ÷òî äîâîëüíî äàëåêî îò ðîäíîé
Èòàëèè. Â òî âðåìÿ Èãíàöèî çàíèìàë
quite far from his native Italy. At
ïîñò êàïåëüìåéñòåðà ïðè äâîðå ãåð-
that time, Ignazio served as a conduc-
öîãà Êàðëà I Áðàóíøâåéã-Âîëüôåí-
tor at the court of Duke Charles I of
áþòòåëüñêîãî. Ñðåäà, â êîòîðîé ðîñ
ü
Braunschweig-Wolfenb ttel. The envi- ìàëü÷èê, áûëà áëàãîïðèÿòíà äëÿ çà-
ronment in which the boy grew up was íÿòèé ìóçûêîé. Ñ ðàííåãî äåòñòâà îí
good for music. From his early child- ïîëó÷àë îò îòöà óðîêè èãðû íà
3
hood, father gave him lessons of play- ìàíäîëèíå è îò íåãî æå óíàñëåäîâàë
ing the mandolin, and from his father áîëüøóþ ëþáîâü ê ýòîìó èíñòðó-
he inherited a great love for this in- ìåíòó. Òàê ÷òî âåñüìà çàêîíîìåðíî,
strument. So it is quite natural that ÷òî ñâîþ ìóçûêàëüíóþ êàðüåðó Ôåäå-
Federigo began his musical career as a ðèãî íà÷àë êàê ìàíäîëèíèñò.
mandolinist.
Íî âî âòîðîé ïîëîâèíå XVIII
However, in the second half of âåêà âîçìîæíîñòè ìàíäîëèíû áûëè
the 18th century, the mandolin's pos- îãðàíè÷åííûìè (êàê è ñïðîñ íà ìàí-
sibilities were limited (as was the de- äîëèíèñòîâ), è ìóçûêàíò íà÷àë îñâà-
mand for mandolinists), and the musi- èâàòü äðóãèå èíñòðóìåíòû 1 ñêðèïêó
è àëüò. Àêòèâíî êîíöåðòèðîâàòü Ôè-
cian began to master other instru-
îðèëëî íà÷àë â 20 ëåò. Îí ïðåäïðèíÿë
ments - violin and viola. At the age of
ðÿä çàãðàíè÷íûõ ïîåçäîê: â Ñàíêò-
20 Fiorillo actively began to give con-
Ïåòåðáóðã (â 1777 ã.) è â Ïîëüøó
certs. He undertook a number of trips
(1780 1 1781 ãã.), ãäå äàâàë êîíöåðòû,
abroad: to St. Petersburg (in 1777)
èãðàÿ êàê íà ìàíäîëèíå, òàê è íà
and to Poland (1780-1781), where he
ñêðèïêå. Åãî ñîâðåìåííèêè îòìå÷àëè
gave concerts, playing both the man-
íåâåðîÿòíîå èñïîëíèòåëüñêîå ìàñòåð-
dolin and the violin. His contemporar-
ñòâî ìóçûêàíòà, ñïîñîáíîñòü äåìîí-
ies remarked the incredible perform-
ñòðèðîâàòü òîí÷àéøèå íþàíñû çâóêà.
ing skills of the musician, the ability
 1782 ãîäó Ôèîðèëëî ïîëó÷èë äîëæ-
to demonstrate the subtle nuances of
íîñòü êàïåëüìåéñòåðà â Ðèãå, êîòî-
sound. In 1782, Fiorillo got the post ðóþ îí çàíèìàë äî îòúåçäà âî Ôðàí-
of conductor in Riga, which he held öèþ (1784 ã.).
until his departure for France (1784).
Ãîäû, ïðîâåäåííûå â Ïàðèæå
The years spent in Paris (1784 - (1784 1 1788), îêàçàëèñü ïëîäîòâîð-
1788), proved to be fruitful for the íûìè äëÿ ìóçûêàíòà. Ôèîðèëëî
musician. Fiorillo participated in the ó÷àñòâîâàë â çíàìåíèòûõ «Äóõîâíûõ
êîíöåðòàõ» â êà÷åñòâå ñêðèïà÷à-ñîëè-
famous "Spiritual Concerts" as a vio-
ñòà, ãäå èìåë áîëüøîé óñïåõ. «Äóõîâ-
linist-soloist, where he had great suc-
íûå êîíöåðòû» 1 ýòî ïåðâûå ðåãóëÿð-
cess. "Spiritual concerts" were the
íûå ïóáëè÷íûå êîíöåðòû, îðãàíèçî-
first regular public concerts organized
âàííûå â 1725 ã. êîìïîçèòîðîì è ãî-
in 1725 by the composer and oboist
áîèñòîì Àííîì Äàíèêàíîì Ô è ëèäî-
Anne Danican Philidor, held in Tuiler- ðîì, ïðîõîäèâøèå âî äâîðöå Òþèëüðè
ies Palace until 1790. âïëîòü äî 1790 ãîäà.
During this period, Federigo
 ýòîò ïåðèîä Ôåäåðèãî Ôèî-
Fiorillo began to pay great attention ðèëëî ñòàë óäåëÿòü áîëüøîå âíèìà-
to the composition. Here were written íèå êîìïîçèöèè. Çäåñü áûëè íàïè-
4
his first concert symphonies (for two ñàíû åãî ïåðâûå êîíöåðòíûå ñèìôî-
violins, two flutes and two oboes), Six íèè (äëÿ äâóõ ñêðèïîê, äâóõ ôëåéò è
äâóõ ãîáîåâ), Øåñòü ñòðóííûõ êâàðòå-
string quartets, op.1, Six trios for vio-
òîâ, Op.1, Øåñòü òðèî äëÿ ñêðèïîê è
lins and bass, op.2, Three concerts for
áàñà, Op.2, Òðè êîíöåðòà äëÿ
violin, op.4 and other early works. It
ñêðèïêè, Op.4 è äðóãèå ðàííèå ñî÷è-
was in Paris that the publishing house
íåíèÿ. Èìåííî â Ïàðèæå èçäàòåëü-
Sieber first published 36 etudes for
ñòâîì Sieber áûëè âïåðâûå îïóáëèêî-
violin, op.3 and other opuses by Fioril- âàíû 36 ýòþäîâ äëÿ ñêðèïêè, Op.3 è
lo. äðóãèå îïóñû Ôèîðèëëî.
In 1788, Fiorillo moved to Lon- Â 1788 ãîäó Ôèîðèëëî ïåðåñå-
ëèëñÿ â Ëîíäîí. Òàê æå, êàê è â Ïà-
don. As well as in Paris, he actively
ðèæå, îí àêòèâíî ó÷àñòâîâàë â êîí-
participated in the concert life of the
öåðòíîé æèçíè ñòîëèöû, âûñòóïàÿ
capital, performing solo at the public
ñîëüíî â ïóáëè÷íûõ «Êîíöåðòàõ ñòà-
"Ancient Concerts" and as part of the
ðèííîé ìóçûêè» è â ñîñòàâå ñòðóí-
string quartet of the famous violinist
íîãî êâàðòåòà çíàìåíèòîãî ñêðèïà÷à
and impresario Johann Peter Salomon è èìïðåñàðèî Èîãàííà Ïåòåðà Ñàëî-
as a viola player. It was Johann Salo- ìîíà â êà÷åñòâå àëüòèñòà. Èìåííî
Èîãàíí Ñàëîìîí ñîäåéñòâîâàë Éîçåôó
mon who helped Joseph Haydn with
Ãàéäíó â åãî ïîåçäêàõ â Àíãëèþ (1791
his trips to England (1791 - 1792,
1 1792, 1794 1 1795), îðãàíèçîâûâàë
1794 - 1795), organized the premieres
ïðåìüåðû ìíîãèõ ñî÷èíåíèé, íàïè-
of many compositions written by the
ñàííûõ àâñòðèéñêèì êîìïîçèòîðîì è
Austrian composer and performed his
èñïîëíÿë åãî êâàðòåòû âìåñòå ñî
quartets with his ensemble.
ñâîèì àíñàìáëåì.
In London, Federigo Fiorillo  Ëîíäîíå Ôåäåðèãî Ôèîðèëëî
continued working on composition. ïðîäîëæàë è ñâîþ êîìïîçèòîðñêóþ
During this period he created such äåÿòåëüíîñòü. Â ýòîò ïåðèîä èì áûëè
compositions as Three Concert Duos ñîçäàíû òàêèå ñî÷èíåíèÿ, êàê Òðè
for Two Violins (1805), Three Concert êîíöåðòíûõ äóýòà äëÿ äâóõ ñêðèïîê
(1805), Òðè êîíöåðòíûõ òðèî äëÿ
Trios for Flute, Violin and Tenor
ôëåéòû, ñêðèïêè è òåíîðà (1810) è
(1810) and Three Duos for Violin and
Òðè äóýòà äëÿ ñêðèïêè è âèîëîí÷åëè
Cello (1819), written specially for the
(1819), íàïèñàííûå ñïåöèàëüíî äëÿ
Count of Cambridge.
ãðàôà Êåìáðèäæñêîãî.
It is known that for many
Èçâåñòíî, ÷òî äîëãèå ãîäû Ôå-
years, Federigo Fiorillo lived in Lon-
äåðèãî Ôèîðèëëî ïðîæèâàë â Ëîí-
don, and in 1815 the musician made a
äîíå, à â 1815 ãîäó ìóçûêàíò ñîâåð-
trip to Amsterdam. On his future fate, øèë ïîåçäêó â Àìñòåðäàì. Î åãî
5
the information is contradictory. Most äàëüíåéøåé ñóäüáå ñóùåñòâóþò ïðî-
òèâîðå÷èâûå ñâåäåíèÿ. Âåðîÿòíåå
likely, after a trip to the Netherlands,
âñåãî, ïîñëå ïîåçäêè â Íèäåðëàíäû
Fiorillo returned to England. The ex-
Ôèîðèëëî âåðíóëñÿ â Àíãëèþ. Òî÷-
act date of death of the musician is
íàÿ äàòà ñìåðòè ìóçûêàíòà òàêæå íå-
also unknown. Researchers agree that
èçâåñòíà. Èññëåäîâàòåëè ñõîäÿòñÿ âî
Fiorillo visited Paris again in 1823
ìíåíèè, ÷òî Ôèîðèëëî òàêæå âíîâü
shortly before his death. ïîñåòèë Ïàðèæ â 1823 ãîäó íåçàäîëãî
äî ñâîåé ñìåðòè.
Federigo Fiorillo witnessed the
heyday of Enlightenment Classicism of Ôåäåðèãî Ôèîðèëëî ñòàë ñâè-
äåòåëåì ðàñöâåòà ïðîñâåòèòåëüñêîãî
the second half of the 18th century:
êëàññèöèçìà 2-îé ïîëîâèíû XVIII
public concerts and musical societies
âåêà: ìíîæàòñÿ ïóáëè÷íûå êîíöåðòû
were multiplying, a new instrumental
è ìóçûêàëüíûå îáùåñòâà, ôîðìèðó-
culture was being form ed, where th e
åòñÿ íîâàÿ èíñòðóìåíòàëüíàÿ êóëü-
main instrument was a piano, new
òóðà, â öåíòðå êîòîðîé îêàçûâàåòñÿ
forms and genres were emerging, and ôîðòåïèàíî, ïîÿâëÿþòñÿ íîâûå
new aesthetics was being established. ôîðìû è æàíðû, óñòàíàâëèâàåòñÿ íî-
âàÿ ýñòåòèêà.
The center of European musical
Öåíòð åâðîïåéñêîé ìóçûêàëü-
culture has shifted from Italy to the
íîé êóëüòóðû ñìåñòèëñÿ èç Èòàëèè
north, towards Austria and Germany.
íà ñåâåð, â ñòîðîíó Àâñòðèè è Ãåðìà-
After all, at the time of Fiorillo's
íèè. Âåäü íà ìîìåíò ðîæäåíèÿ Ôèî-
birthday, the musical titans Scarlatti
ðèëëî òèòàíàì Ñêàðëàòòè è Ãåíäåëþ
and Handel were already 70 years old.
óæå ïî 70 ëåò. Çàòî Ãàéäíó âñåãî 23,
However, Haydn was only 23, he cre- îí ñîçäàåò ñî÷èíåíèÿ, ÷òî ïðèíîñÿò
ated compositions that brought him åìó ïåðâîå ïðèçíàíèå. Ìåíüøå ãîäà
first recognition. Less than a year left îñòàëîñü äî ðîæäåíèÿ Ìîöàðòà, îêîëî
before the birth of Mozart, about 15 15 ëåò 1 äî ïîÿâëåíèÿ íà ñâåò Áåòõî-
âåíà.
years - until the birth of Beethoven.
Áèîãðàôèÿ ñàìîãî Ôåäåðèãî
Biography of Federigo Fiorillo
Ôèîðèëëî îòðàæàåò ïåðåìåíû â ìó-
reflects changes in the musical art of
çûêàëüíîì èñêóññòâå òîãî âðåìåíè.
the time. It's significant that Fiorillo
Çíàêîâûì ìîæíî ñ÷èòàòü îòêàç Ôèî-
gave up the mandolin in favor of vio-
ðèëëî â ñàìîì íà÷àëå ñâîåé êàðüåðû
lin and viola at the very beginning of îò ìàíäîëèíû â ïîëüçó ñêðèïêè è
his career. Also noteworthy is the fact àëüòà. Òàêæå ïðèìå÷àòåëåí òîò ôàêò,
6
that the catalog of the musician's ÷òî â êàòàëîãå ñî÷èíåíèé ìóçûêàíòà
works contains works written both for âñòðå÷àþòñÿ êàê ïðîèçâåäåíèÿ, íàïè-
harpsichord (Sonata for harpsichord ñàííûå äëÿ êëàâåñèíà (Ñîíàòà äëÿ
and violin) and for piano (Duo Echo êëàâåñèíà è ñêðèïêè), òàê è äëÿ ôîð-
for piano and harp (1811), Three sona- òåïèàíî (Äóýò «Ýõî» äëÿ ôîðòåïèàíî
è àðôû (1811), Òðè ñîíàòû äëÿ ôîðòå-
tas for piano (1809), canzonets for
ïèàíî (1809), êîíöîíåòòû äëÿ ãîëîñà
voice and piano).
è ôîðòåïèàíî).
Fiorillo was a concert violinist,
Ôèîðèëëî áûë êîíöåðòèðóþ-
so most of his works were written for
ùèì ñêðèïà÷îì, ïîýòîìó áîëüøàÿ
the ensemble, which includes strings:
÷àñòü åãî ïðîèçâåäåíèé íàïèñàíà äëÿ
numerous duets, trios, quartets for
àíñàìáëÿ, â ñîñòàâå êîòîðîãî åñòü
strings, concert symphonies and so on.
ñòðóííûå: ìíîãî÷èñëåííûå äóýòû,
But today only one of his opuses is
òðèî, êâàðòåòû äëÿ ñòðóííûõ, êîí-
widely known, which a person who
öåðòíûå ñèìôîíèè è òàê äàëåå. Íî ñå-
wants to master a violin can hardly
ãîäíÿ øèðîêî èçâåñòåí îäèí åãî îïóñ,
pass by. Namely, a collection of 36
ìèìî êîòîðîãî åäâà ëè ìîæåò ïðîéòè
violin studies, written and published
÷åëîâåê, æåëàþùèé îâëàäåòü ñêðèï-
during the stay of Fiorillo in Paris.
êîé. À èìåííî, ñáîðíèê 36 ñêðèïè÷-
íûõ ýòþäîâ, íàïèñàííûé è îïóáëèêî-
In spite of that usually these
âàííûé âî âðåìÿ ïðåáûâàíèÿ Ôèî-
studies are learned and played sepa-
ðèëëî â Ïàðèæå.
rately, Fiorillo conceived this opus as
a single cycle, assuming the end-to-
Íåñìîòðÿ íà òî, ÷òî â ïîäàâëÿ-
end logic and tonal unity of the whole.
þùåì áîëüøèíñòâå ñëó÷àåâ ýòþäû ðà-
çó÷èâàþòñÿ è èãðàþòñÿ îòäåëüíî, Ôè-
In addition to its artistic value,
îðèëëî çàäóìûâàë îïóñ, êàê åäèíûé
the collection is an indispensable di-
öèêë, ïðåäïîëàãàþùèé ñêâîçíóþ ëî-
dactic tool for any performer. Along
ãèêó è òîíàëüíîå åäèíñòâî öåëîãî.
with the "classical" studies of Rodol-
Ïîìèìî ñâîåé õóäîæåñòâåííîé öåííî-
phe Kreutzer and Pierre Rode, they
ñòè ñáîðíèê ÿâëÿåòñÿ íåçàìåíèìûì
cover the main types of violin tech-
äèäàêòè÷åñêèì ïîñîáèåì äëÿ ëþáîãî
niques of both hands: they train fin-
èñïîëíèòåëÿ. Íàðàâíå ñ «êëàññè÷å-
ger velocity, position changes, double
ñêèìè» ýòþäàìè Ðîäîëüôà Êðåéöåðà è
notes and polyphony, arpeggios, etc.
Ïüåðà Ðîäå îíè îõâàòûâàþò îñíîâíûå
Fiorillo shows an incredible imagina-
âèäû ñêðèïè÷íûõ òåõíèê îáåèõ ðóê:
tion in the choice of bow techniques
òðåíèðóþò áåãëîñòü ïàëüöåâ, ñìåíó
and their various combinations. Espe-
ïîçèöèé, äâîéíûå íîòû è äâóõãîëî-
cially noteworthy is the last study, ñèå, àðïåäæèî è ò.ä. Ôèîðèëëî ïðîÿâ-
which is a sequence of chords with ëÿåò íåâåðîÿòíóþ ôàíòàçèþ â âûáîðå
numerous variants of bow techniques. øòðèõîâ è èõ ðàçëè÷íûõ ñî÷åòàíèé.
7
The proposed redaction of etudes be-  îñîáåííîñòè ïðèìå÷àòåëåí ïîñëåä-
longs to the outstanding Russian vio- íèé ýòþä, êîòîðûé ïðåäñòàâëÿåò ñî-
linist and teacher Leopold Auer (1845 áîé ïîñëåäîâàòåëüíîñòü àêêîðäîâ ñ
- 1930). Among his pupils were the ìíîãî÷èñëåííûìè âàðèàíòàìè øòðè-
legendary Jascha Heifetz, Efrem Zim- õîâûõ ðåøåíèé.
balist, Misñha Elman and many others
Ïðåäëàãàåìàÿ ðåäàêöèÿ ýòþäîâ
(more than 300 students). Auer is
ïðèíàäëåæèò âûäàþùåìóñÿ ðóññêîìó
rightly considered to be the founder of
ñêðèïà÷ó è ïåäàãîãó Ëåîïîëüäó Àóýðó
the Russian violin school. 36 studies
(1845 1 1930). Åãî âîñïèòàííèêàìè
for violin by Fiorillo with redaction by
áûëè ëåãåíäàðíûå ßøà Õåéôåö, Åô-
Leopold Auer for many years has been
ðåì Öèìáàëèñò, Ìèøà Ýëüìàí è ìíî-
an authoritative tool for all students ãèå äðóãèå (âñåãî бîëüøå 300 ñòóäåí-
who wish to gain technical skills in
òîâ). Àóýðà ïî ïðàâó ñ÷èòàþò îñíîâà-
violin playing.
òåëåì ðóññêîé ñêðèïè÷íîé øêîëû. 36
ýòþäîâ äëÿ ñêðèïêè Ôèîðèëëî â ðå-
äàêöèè Ëåîïîëüäà Àóýðà íà ïðîòÿæå-
Sergey Stroykin, sheet music editor, íèå ìíîãèõ ëåò ÿâëÿþòñÿ àâòîðèòåò-
Publishing house "The Planet of Music" íûì ïîñîáèåì äëÿ âñåõ ó÷åíèêîâ, êòî
æåëàåò äîñòèãíóòü òåõíè÷åñêîãî ìà-
ñòåðñòâà â èãðå íà ñêðèïêå.
СергейСтройкин,
музыкальныйредактор
издательства «Планетамузыки»
8
STUDIES. ЭТЮДЫ.
Down-bow Смычоквниз
Up-bow Смычоквверх
cantabile Певуче
spiccato spiccato
detaché detaché
segue - etc. segue - ит. д.
F. Fiorillo Ф. Фиорилло
Redaction by L.Auer РедакцияЛ. Ауэра
Largo.
1.
p
f 0 p
4
3
f segue
3
f
2
Allegro.
f martelé segue
detaché
3
3 3
3
4
3
4
9
4
3
0
4
segue 4
1
1
0 4 4 4
4
2
1 1
Maestoso.
2.
p f
f
p f
p f
f
0 3
10
